I try: Parts II & III

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Antonio-Pedro
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  • #1
  • Posted: 11/07/2015 18:43
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...Because the drums were so out of rythm that the whole album feels... kinda..

Oh!... Ah... You're here! Let me...

Just a second... *albums falling out from the table* Damitt!


Ah... Okay...Here have some pictures! You like fruits don't you? Here have some oranges


yummy yummy.

So didn't know this was a thing on BEA right now, I'm not really good describing shit, so... this will be hard, I will try to do this 2 days-a-week at least, Also some recs would be cool along the road! So yeah this is it. Just like the pavement song, I'm tryin' I'm tryin'...
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Antonio-Pedro
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  • #2
  • Posted: 11/07/2015 21:25
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07/11 Blame Brazil's metric.

Had some busy morning doing some school works, couldn't find too much time to music, and went to here and there until coming back home and for some reason taking this for a ride.


Hospice by The Antlers
I have a weird relationship with Hospice, By one side I feel it has its high points, And has those "feels" senses which I praise to death in album, how could I not love this? By other side I can't help but feel so bored in the middle of it, that I stopped the song I was to watch a Ford commercial on TV, and it wasn't even about developing a new car. See how prologue goes all that whole way down, and hopes me to get entertained with those vibrating lines all over it, and the pain of getting to the end of "Atrophy", which is kinda weird because I'm a fanboy of long songs (that song is not that big tbh... but it is out of the normal Alternative pop song lengthiness), because they can expand themselves into a bigger thing while it just stands in the same size and shape, like a kid playing with one of those Fisher-Price baubles trying to fit the square in the circle part until the moment you can't stand it anymore. The thing begins to develop, but in a monotonous way, so heavily, that I almost kill my "don't do this" part of my brain by not skipping right to "Epilogue" (one of the few things I really see myself coming back whenever I listen to this) and end the whole thing out. But I can feel why people can relate in such a way with it, sometimes it has an air of escaping, in the hardest moments, and for the right places, it has that appeal you know? (not gonna go further into this to avoid a fuckround of debates like last week... it was last week right?) and some weird vibes of cloudiness (Which can feel kinda haunting at times, it is really heavy though, too much to be honest, don't get me wrong, I love cloudiness, Many of my favorite albums have this kind of sound, but they have only a thin stratum which kinda allows me to see what's in the other side) The lyrics are a miss-hit for me, (What a dualism for this whole thing Antonio! can't you just have an opinion like you don't like, or you like it? Don't blame me!...Actually... Blame Me!) Sometimes In those little pieces there are really beautiful written moments, Like "Bear" for example, It is pretty how they can combine that whole tip-toey atmosphere of the song with those warm lyrics, although there are times when I feel The album is almost becoming the satire of itself (meme material over here btw!). Chris is going to be so piss off, that I'm already waiting to him to bring his long-ass arguments, about how I'm missing the point of the album and boalaboalaboalaboala. It's as entertaining as watching a snail letting its slime trail on a piece leaf.
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Antonio-Pedro
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  • #3
  • Posted: 11/08/2015 20:34
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08/11


Le Jardin De Heavenly by Heavenly
Bumping for the second time this week, don't know why, but 80s Indie pop alike "Picnic music, and all sort of confectionery sounds that shake your feet" music tend to fall in a big wall of mehness for me, everything seems to be so happy, and the songs are so catchy, In the end, I feel there are too many colors or too much cuteness for me to swallow. This is why Le Jardin... highlights from the other stuff in the same bridge, it kinda keeps the whole thing balanced and pumping, while it still brings the sweet moving melodies over the table, there is rawness between the lines of the chords, and when they collide in songs like "Tool" or "C Is The Heavenly Option", it's some other world thing. I feel like the most important aspect of this, is the non-stop feeling of it, the climate of moving to tops and domps, And how the journey to end in all these places goes so gratefully. I can't see it becoming one of my favorites albums, but... sometimes this is not that necessary to let the smiles in your face, while singing to it, bloom ^-^


X&Y by Coldplay
Album contains my favorite Kraftwerk Song

I have a friend at my school that loves coldplay, he kinda cocksucks all their earlier stuff, and even bought their early singles and B-sides, and show to his friends whenever they go to his house, he has always tried to get me into this album, even me saying I'm so overload of stuff to hear (I'm not really, I'm just a boring human) and that I can't find time to listen to it. So after "Fix You" played in my Spotify for some reason I decided I finally had to get my lazy ass in the chair and digest this whole album. I like Coldplay, I will not pretend I'm very cool hating their singles [is it still cool to hate coldplay? can't remember it being since the last time I checked P4k] (Screw "In my Place" and almost everything in Viva la Vida though) Blame my mom for it, remember getting stuck at the transit when I was younger and she was playing the hell of their most famous singles, so I can't find myself hating something from them. The thing here becomes less rocky and more poppy, Chris Martin's voice Is really cool, and the one I can relate to most when it comes to calming pieces, beside his falsetto getting me to cringe at times, I see nothing bad on it. What I feel that goes out in the rail on this one while looking at their previous albums (Parachutes and A Rush of Blood...) is that X & Y feels more like a support for their singles and fill up the rest with sausage, just to get it done... Well I feel this with Parachutes, but at least there the song transmits a feeling of emotion, while here It just feel bland, The instrumentation doesn't really catch the song, or light up a sparkle of feeling, or anything that rolls in this way, Everything seems very forgettable here, there is no unique element, as when I listen to A Rush of Blood, I feel "Yep that's coldplay" (In a bad way or in a good way, take it as you wish), Uniqueness is not that important in the end but when the thing is going out of the rail, as this goes, a little bit of singularity is not that bad. Wow, after all of this it is kinda sounding that I hated this. I didn't, It's a good album, There are some great songs, and a lot of fillers, like if you're having a party and want everyone to sit and check their iphones, this is your soundtrack.

EDIT: Just messaged my friend telling my feelings about this album and I received the biggest story about how this album is so cool and how it should be on everyone's top 100 list, hehe.
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Antonio-Pedro
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  • #4
  • Posted: 11/15/2016 21:06
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15/11

I think I should get back to this since it avoids me from going only on "what album are you listening to "thread and motivates me to try to do something. So yeah, back from the dead...

Mount Eerie by The Microphones
I used to compare Phil Elvrum's works as the musical equivalent of Lars Von Trier's movies. The Boldness is combined with a sense of creativity that spills emotion all over the listener, He/She is ripped out from the comfort zone and thrown out in the middle of a hurricane without any clues of how he got there, and how Elvrum decides to treat us is insanely weird, he quietly comes closer and closer until we can listen to him breathing, so close that we can hear his blood moving through his veins, so close that we can see that wilderness that is covered behind his eyes. He appears alone to calm down the disorder that is established in "The Sun", and inserts us in some kind of stellar ritual, with the moon and the sun as witnesses, the abstract glow is now swallow by a big mass of vacuum and negative energy coming from a big black hole. What I most love in Phil's works is how much it seems personal and how much it represents the chaos that is the human mind, our pessimism personified in trumpets and nymphs' voices, inducting you to be weaker and weaker. "Solar System" is the perfect ode to the myth of the eternal return, The troubadour that interacts with his loneliness and outside forces to wish his lover comeback, The continuous use of "I Know you're out there" reinforces the feeling of how much he has waited and will wait for her to be back, let it rain, let there be sun, the world will end and his dreams will still be floating in the ether. In "universe I" the band join its multi-instrumental magic to give life to the fragility of human conscience and confidence, from the lonely guitar that follows Elvrum through the glow of the moon, going through reflexes in mud puddles with her curves drawn, until our hero down to his knees offers himself to the force that moves the universe, and we are brought then to a weird journey that is mount eerie, a force that purifies and devours each piece of your soul. The eclipse starts, his eyes are burnt, he is tilting towards the sun, and the mount eerie wakes from his thrones and begins to drain any light that remains in the listener's hope. This has been a hell of an adventure huh? When I first completed Mount Eerie I got myself theorizing all night and dawn, what the hell did I just passed through? Is this some kind of metaphor to the trifling human emotions and feelings? That's why I consider this record to be so great, it explores the outside world of music, it's not just about listening to something, but rather taking a philosophical walk to somewhere, we are humans and overall we should know how soulless we have become in the last years. In the end we have stars and galaxies inside us, we are a whole universe of deception and loneliness, love and hate, we are a big avalanche of synesthesia, we are a big mess of sense. And In the end we will be all swallow and superb about how deep our night is, how coloured our supernovas are, how enormous our soul is.


On The Beach by Neil Young
I've tried to get into other Neil's albums, and I don't know if it's my bias with the first album I listen from the artists (I mean this should be certain right now, not only a supposition), but none of them appeal as much as On The Beach. On The Beach is the perfect balance between the rocky and the folky side of Young's catalog, more energetic songs like "Walk On" are incredibly lined with sadcore tunes like "Motion Pictures", while the songwriting is not far behind. Besides the name, I feel this is the last thing someone would listen on the beach, "Ambulance Blues" is a more Afternoon/twilight-core, Feels like Neil is just waiting for the moon to come over so he can pack up his things and come home, that's why I feel the song length doesn't annoys me that much, doesn't bores me, it is meant to make things go slower. The album is incredibly Consistent with a capital C, which is the feature that I most miss in other Neil's works, and all songs seem to open doors to others, although the abrupt fade out in "Walk on" still gets me, but I can forgive him for that. I have a really hard time appreciating old singer-Songwriter classics, Like Dylan, Drake and Cohen, the lack of energy and instrumentation (but the overweight of emotion is something that can't be replaced) often bores me, I feel the composing is replaced too brutally for the writing, or that the production is sacrificed for a more personal experience with the artist, and normally, I can't stay focused on the music for too long. But On The Beach is one of those amazing Exceptions that make me want to believe in this kind of genre, It is pretty looking by a more musical side, and it keeps getting better and better as the album goes on, I feel it doesn't get to slow at times, for examples "See the Sky About to Rain" has it wave interrupted by "Revolution Blues", and vice versa with "walk on". In the end, it's interesting to me to try to describe what makes on the beach so good and appealing to me, maybe is how the instruments fight for a space in the songs, maybe it isn't meant to be reviewed as a record itself but as something simple that surprisingly ends up being a work of art
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  • #5
  • Posted: 11/19/2016 00:19
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18/11

Person Pitch by Panda Bear
Of course! Because all I wanted for tonight was something that made me feel like in an island full of children, where they have their own dynasty and their campfire rituals, am I a part of it? You're taken out of force, and it's already completed, we are all doomed to not grow up. Since the Beginning of "Comfy in Nautica", Panda already throws his tribal waves, voices sing in a united choir, united beats, summer atmosphere, as if we were all together inside the album, and still there is still space for Noah to command all the mass that pulses the song, he is the maestro, and we all know his commands. The highlight of the record is surely the epic "Bros", a 12 minute acid trip into the folkiest side of Anco Catalog, This is where Noah pour all his heart and insanity, he can still keep your mind tricked and locked through the song's progression, every moment he adds more and more ingredients into the pot, until it is a mess and we can't even describe how we got there, drums and guitars reverbing over walls and walls of sound, Panda's voice echoing all over your ears like a ping pong match. And then when it all seems to become a 12-headed monster, he still has the talent to pull it all back with another progression, it just takes my breath out, how complex the song seems to be, although it is composed principally of such simple arrangements, half-moon-like beats, and it totally morphs itself into a butterfly, but don't get it twisted this is still that lazy caterpillar. Honestly, I don't really see how this can compare with pet sounds, as I normally see many people doing, they are both beautiful in their respective way, I mean, if only panda could take Brian Wilson to his child-life island and could complete the ritual with him, But... I mean what are the possibilities? Also, I have a hard time labeling this as an AnCo project, by one side it still has Noah's unmistakable contribution to the percussion ("Good Girl/Carrots" as an example) and his traces are spilled all over the record, but by other side, the complete work feels slightly more old and sunny, sometimes even cleaner than mishmash they do in their earlier works. It's weirdly consistent, as much as old yellow pages tied together, even with dense and abrupt energy breakers, I mean How could "Good Girls", which is also a 12 minute epic, that, differently of "Bros", has many layers of history glued together (but still deserves a hige praise for its crafting), end up in "Search for delicious", which is probably the ambient soundtrack to the madness of a monster while wandering all over the Christmas evening. It's probably the record I've most listened this week, it's as catchy and addicting as pink bubble gums, and I still can't see it figuring through my favorites records of all time, weirdly, I haven't decided whether it is splendid and I still haven't see its shine popping out of my smile, or if a summer that decided to sprout in my head, and this album decided to live somewhere there (its natural habitat). I'm not rushing to get a view on this, it's better to smell this flower as long as I can.
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  • #6
  • Posted: 11/19/2016 22:33
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19/11

WORRY. by Jeff Rosenstock
This Decade is Gonna be fucked
My friends will disappear after they fall in love
and get married
Isn't that shit like, crazy?
The workin', havin' babies and promotions?
The cheatin', cryin', leavin', and divorcin'?
All these magic moments I’ve forgotten

All these magic moments I’ll forget once the magic is gone"

Jeff Rosenstock's Worry is my contender for best well dressed elegant-teen angst record of all time, imagine if Billy Joel listened to Abbey Road and the Damned when he was a teenager in the early 2000's. This is Worry, my current album of the year, I recommend to everyone who has two ears and a heart that beats like a tambourine, and if you liked the new Car Seat Headrest, this should be written on your "remember to listen" notes. Besides the similarities with dozens and dozens of other bland Indie-Rock albums from this (and last) decade, There is something very exciting (just look at that man smiling on the cover) and unique in Worry, Jeff manages to create in every song a pop masterpiece, His vocal melodies dance side-by-side with the musical arrangements, it is catchy while not losing the essence of a in depth record because of the amazing songwriting, based principally in Jeff's memories and experiences in his youth, where will your friends go after college? Weird Conspiracy theories, and being awkward in public, in the perspective both as an adult (Recognizing what happened to other friends, and his idols, the paranoia of being a internet surfer) and as a Teenager (represented in his wishes to do things that aren't socially associated to his current age). It's interesting to conclude this is a very pessimistic record, as much as he tries to make things differently right now, he is already tied to the monotony and the responsibilities of being an adult, remembering how he used to enjoy his time in the past, what strongly contrasts with his current alcoholic state of mind. I like to divide this record in two parts, the first part (from "We begged 2 Explode to "I did Something Last night") are the most shaped and crafted songs, Jeff knows how to use everything he has in his dusty garage to make music, you can clearly, after many listens, say that this is where Rosenstock spend most of his production time in, differently from the second part in which the lack of a more specialized production is sacrificed to inject more energy, the sound is raw and crude, you can't blink two times in a row and you are already entering in another tune, a punk medley a là Beatles . The consistency is the key to this record, Jeff makes the album flow like liquid, and even with the Power-pop (bordering with Punk-pop) label, that tends to sum up in records supported weakly only in strong main singles, the record still pulls the listener attention to the maximum with the most simple songs through its quick and ghostly transitions. A thing that is often addressed in my chart or my musical reflections is how much an album can relate to my death-of-innocence-status quo, and from the many records I've already wrote about inside this topic, Worry is the one that made the biggest hole, not only because Jeff's older voice is something very different from the younger-core that is recognized for producing this style of music (Arcade Fire in Suburbs, Anco in Spirit They're Gone are examples), but also because we are dealing with someone that sounds like a father, someone that seems tired, someone that already has experienced much of adulthood to compare its beige color to his colored youth. All these magics moments were forgotten once the magic was gone.
AOTY AOTY AOTY AOTY AOTY


A Winged Victory For The Sullen by A Wi...The Sullen
The sun rises slowly, the waves hit the static rocks, a mountain far away breathes, The day unfolds itself like a lotus flower.
A deep breath, eyes waiting for the dream station, beauty, beauty lies between the lines, between these notes. There is a heavenly feeling I can't describe, it flies, it gets closer until you can almost feel it touching your face, Feet get cold, the body is completely invaded with a morphine symphony.
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Antonio-Pedro
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  • #7
  • Posted: 11/25/2016 19:03
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25/11

22, A Million by Bon Iver
Quick review on this one since school is draining almost all my time in this week. A quick one before the eternal worms.
I have a massive respect for Bon Iver, Specially Vernon to be more precise, for the reason that he composed one of the records that changed everything in my worrying state of mind last year (For Emma...), so in thesis I was pretty worried about creating expectations for this record, principally after listening to "God" for the first time, which I thought was a joke; I know that he loved to play with autotune and create unexpected tunes (Beth/Rest as an example of one of his tries that almost blew it up), but then I realized, it was for real (Oh gosh, Antonio HATES when his favorite musicians change,the world isn't static sonny). It's pretty reasonable that Vernon was bound to try something new from the beginning, the folk à la cabin in the woods was something that probably suffocated him a lot while producing not only this record but the self titled either, but an abrupt shift like this one was built through this decade, Vernon has worked with dozens of artists such as Kanye, that had a huge impact in Bon Iver's transition to a more "Produced" (I mean, should this be the right word to define this) sound, the result is something that barely sounds like was made by the same guy whose songs played in millions of teenage movies. The arrangements and the composition are glued in such a messy way that I really wonder if Vernon knew how to use a mixing table, not gonna lie, this sound really pretentious like he wanted to make something that challenged the current state of music as art, and that's really fine by me, but it would contribute surely to this record's sickness, that is the unconscious inconsistency. I know that maybe under this mega distorted production there is something that is excellently touching and moving, like "45" that got me thinking about how much this record inconsistently managed its songs, a beautiful melody that is invaded by an atmosphere of innovation and quirkiness that completely ruins the song for me, but this record's picture is all blurred with Vernon's painting and these tracks' name (what did he has in his mind when he decided the name of the songs?), and I can't see the beauty that he left for us behind all those layers, something existential I guess, or the perfect soundtrack to the aurora borealis in a cryptographic ocean. Will give it more spins in the future, but I can't see my mind changing on this record, the good news is that I said the same about for Emma, and now it composes a big part of me, there is still hope for this record and Vernon's redemption with my ears.
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Antonio-Pedro
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  • #8
  • Posted: 11/26/2016 18:56
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26/11

Insignificance by Jim O'Rourke
My favorite Jim O' Rourke record that doesn't contain a man and a rabbit having weird adventures in the artwork.

Honestly I don't really know from where and why I create these musical comparisons, but Jim O' Rourke's records have many similarities with medieval sculptures of gods for me, while Eureka pictures a young sculptor that doesn't rush any of his lines, everything seems all handmade, and the beauty is in the details of each curve of the album's the body of work, Insignificance is all composed of new working tools, that although offers us a bigger image, the shine of the details is replaced with sharp curves, that removes a certain elegance from his acoustic guitar playing. I've began to appreciate Jim's music since he worked with Sonic youth in Murray Street, his drone sounds surely gave the record a new breeze of fresh air; but everything changed last year when I heard "Eureka" for the first time, I was completely blown away for his melancholic-alcoholic songwriting, and his late-night song crafting style. That being said, one of the most difficult tasks to solve while listening to an artist's discography for me is to stop comparing older and newer works into a same page of enjoyment, that's why it took so long for me to click with Insignificance after listening to Eureka and Simple songs last year. O' Rourke is not worried about continuing his older american primitivism vibe, here he moves to a more rockier sound, of course his jazzy and singer-songwriter influences are still melted all over this record, but the way he chooses to explore these influences is very different from his older records and colabs, the foggy and lonely sound is now replaced with an injection of clearer and more visible art-pop (or indie rock if I dare) music. The guitar arrangements are all followed by a pulsating instrumentation, composed principally of more usual sounds than he is used to work (the loud presence of the drums contrasting the delicate melodies was something I had a hard time dealing with in the first spins), that unfortunately doesn't add much expressiveness to the sound created over here, actually the emotion and the arrogant sadness is overthrown by this strong musical accompaniment. Besides all of that change, Jim can still keep up with his essence over the unrolling of the record, his writing, that feels more modern and more interactive with the listener, is still on top, with cruel yet spiritual material on his lines (You failed again/ Like a house that needs a floor to be stepped on) that implicitly describes the contemporary vices & Virtues, also his guitar picking, even with the electric support, still blooms many of the songs, his sliding solos are the highlight of this record, even in more energetic and harder songs like "All Downhill From Here", there is still space to fit some more crafted composing. Insignificance only gets better with each listen, the ongoing of multiple plays allows that the most simple evidences of great composing float to the surface of your ears, songs like "Good times" will never sound the same when you finally let that glidering sound slip through your mind and memories. This is the perfect abrupt tender side to Jim's personality coin, the other being the psychedelic melancholy of Eureka. Being ignored by your best friend and family in a beige room has never sounded so thrilling.
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Jimmy Dread
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  • #9
  • Posted: 11/26/2016 19:18
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I thought of you today Toni as I was walking past the Drag City stand at a record market in London and saw copies of Eureka for sale. Was very tempted but I'd spent far too much money by then.

By the way, thank you so much for the Jeff Rosenstock tip-off. Since you played one of the tracks from Worry in Plug the other week I've been listening to the album a fair bit and I bloody love it, so much so it's snuck into my Top 30 for the year.

See, you were always a BEAutiful soul after all... Smile
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Antonio-Pedro
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  • #10
  • Posted: 11/26/2016 19:28
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Jimmy Dread wrote:
By the way, thank you so much for the Jeff Rosenstock tip-off. Since you played one of the tracks from Worry in Plug the other week I've been listening to the album a fair bit and I bloody love it, so much so it's snuck into my Top 30 for the year.

See, you were always a BEAutiful soul after all... Smile

lovely! Jeff's record is pretty addicting so don't get surprised if you caught yourself listening to it 68743 times a week (it would still bump the album into the top 10 I guess u.u)

Also, Drag City used to sell Eureka posters, I would by some but they were sold out I guess, also what would people think if they walked into my room and saw that cover all over my wall? So I delayed its purchase for 3 years : D
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